Analysis of the play "at the bottom". M. Gorky "At the Lower Depths": description, characters, analysis of the play Final word from the teacher

Goals:

• Introduce students to stage fate plays "At the Bottom".
• Introduce the characters of the play into the setting and world.
• Determine the main conflict of the work - a clash of views and life positions inhabitants of the bottom.
• Show the tense atmosphere of the Kostylev doss house from its endless disputes and quarrels; find out the reasons for the disunity of people at the bottom.
• Help schoolchildren understand the meaning of the author's remarks.

Lesson progress

I. Opening remarks teachers.

The largest writers XIX centuries (A.S. Pushkin, N.V. Gogol, L.N. Tolstoy) acted as prose writers, playwrights, and publicists. The work of M. Gorky is also characterized by multi-genres. He entered literature with romantic and realistic stories. At the end of the 90s published the novel "Foma Gordeev", in which he reproduced a broad picture of Russian life, showing representatives of various social strata. In the early 900s he turned to drama and for several years acted as a playwright.

“The play, drama, comedy is the most difficult form of literature,” said M. Gorky.

At that time, the Moscow Art Theater was extremely popular, opening with innovative productions of Chekhov’s plays. new page in the history of Russian theatrical art. In the winter of 1900, Gorky visited this theater for the first time; in the spring of the same year, while staying in Yalta visiting Chekhov, Gorky met artists who captivated him with the idea of ​​​​creating a play for them. The result of this acquaintance was the play "The Bourgeois" (1901) and the plays that followed it: "At the Lower Depths" (1902), "Summer Residents" (1904), "Children of the Sun" and "Barbarians" (1905)

Let us remember what is unique about drama as a type of literature (a student’s performance accompanied by a computer presentation).

1) Drama is for stage performances.

3) The text consists of monologues and dialogues characters.

4) The play is divided into actions (acts) and pictures (scenes).

5) During the break between actions, a certain amount of time may pass (a day, two, a month, six months:), and the location of the action may change.

6) The entire life process is not depicted in the drama; it goes on, as it were, behind the scenes; the author snatches from the flow of time the most significant, from his point of view, moments, and focuses the attention of the audience on them.

7) A special burden in the play falls on conflict- an acute clash between the heroes over a very significant issue. At the same time, there cannot be (extra) heroes in a drama - all heroes must be included in the conflict.

8) A dramatic work is preceded by poster- list of characters.

Gorky’s first plays showed that an innovative playwright had come to literature.

The content and issues of the plays were unusual, as were their characters - the revolutionary-minded proletarian, the inhabitants of the flophouse, and the conflict. Gorky acted as the creator of a new type of drama.

From the cycle of Gorky's dramatic works, the play "At the Depths" stands out for its depth of thought and perfection of construction. “It was the result of my almost 20 years of observations of the world of “former people”, to which I include not only wanderers, shelter dwellers and the “lumpen proletariat” in general, but also some of the intellectuals - “demagnetized”, disappointed, offended and humiliated by failures in life. I realized very early that these people were incurable,” wrote Gorky. He talked a lot and willingly about the tramps, their lives, the people who served as prototypes for this or that character.

Gorky worked hard and purposefully on the play “At the Lower Depths”. Even the list of titles that he successively gave to the play shows both the intensity of his search and even partly his direction:

• "Without Sun"
• "Nochlezhka"
• "In the lodging house"
• "Bottom"
• "At the bottom of life"
• "At the Bottom"

Why "At the Bottom"? (The author did not highlight the place of action - “night shelter”, not the nature of the conditions - “without sun”, “the bottom”, not even the social position - “at the bottom of life”. The final name combines all these names with the new one. Not where, how, A what's happening at the bottom (what?):souls. Unlike the original names, which highlight the tragic situation of the tramps, the latest name is more capacious and polysemantic.)

The play received its final name on the theater poster of the Moscow Art Theater, on the stage of which the play premiered.

Already after the first reading of the play by Gorky himself at the apartment of the writer L. Andreev, it was clear that it would become an event. The censors did not allow the play to be presented for a long time. She erased the text, mutilated it, but still, yielding to public pressure, she allowed it to be played exclusively in Moscow and only to one Art Theater. The authorities considered the play boring and were sure of the failure of the performance, where on the stage instead of “beautiful life” there was dirt, darkness and poor, embittered people (sharps, tramps, prostitutes). The production, carried out by directors Stanislavsky and Nemirovich-Danchenko, was a stunning success. The author was called more than 20 times!

Poster for the play "At the Bottom".

So, December 1902. Moscow Art Theater. First performance of the play.

There are many prominent writers, artists, painters in the public, public figures, famous critics. Starring the most beloved, most prominent artists of the Moscow Art Theater: Stanislavsky (Satin), Moskvin (Luka), Kachalov (Baron), Knipper-Chekhova (Nastya), Luzhsky (Bubnov). The curtain opens...

II. A re-enactment of the beginning of the play prepared by class students.

III. Conversation.

Where did the viewer end up? When and where does the play take place? (In the shelter at the beginning of spring, in the morning.)

How is the scene of action depicted in the stage directions for Act 1, depicting the setting of the shelter? (The basement looks like a cave. There is dirt, soot, rags everywhere...)

- How are the characters positioned on stage?(Everywhere along the walls there are bunks. Thin partitions fence off Ash’s room. Apart from Kvashnya, Baron, Nastya, who live in the kitchen, no one has their own corner. Everything is on display in front of each other. A secluded place is only on the stove and behind the chintz canopy separating others the bed of dying Anna (by this she is already, as it were, separated from life.)

- How is the stage lit?(The light reaches the shelters from the basement window, as if looking for people among the basement inhabitants.)

- Why does the author describe the shelter in such detail in the stage directions preceding Act 1? Why is the remark so lengthy?(The playwright emphasizes the extreme poverty of the current existence of the “former”, the wretchedness of the human shelter.)

- The tragedy of the existence of the shelters and the depth of human fall are helped to feel by the remarks that give an idea of ​​the sounds of the shelter. What does the viewer hear?

Anna moans

Fidgeting and hysterically coughs Actor

Loud growls Satin

Fiercely jingles keys and creaks filing the tick

The Baron slurps, chewing black bread:

- What is the atmosphere of the shelter?(Noise, swearing. Endless arguments, quarrels. Hell, bitterness:)

- Why do quarrels arise so often?(Everyone lives in this basement as he wants. Everyone is preoccupied with their own problems. The characters don’t seem to hear each other. Words sound from different corners. Everyone present speaks at once, without waiting for an answer, weakly reacting to other people’s remarks, but everyone, almost not listening to others, he speaks about his own. Complete separation of people who find themselves under one roof.)

- Stability, the extremes of mutual alienation are conveyed in the form polylogue. What remarks emphasize the continuity of such “communication”, the feeling of time passing in a vicious circle, without beginning or end?

The curtain opens and the viewer hears the Baron's voice: "Further!". This is the first line of the play! It “creates a feeling of the inevitable passage of time, flowing in a vicious circle without beginning or end ". (B.A.Bialik. Gorky the playwright.)

Growls, without scaring anyone, Satin, who overslept after next intoxication.

Kvashnya continues conversation started behind the scenes with Kleshch, constantly shutting himself off from his terminally ill wife.

Baron habitually mocks Nastya, absorbing another shocker.

Actor is boring repeats the same thing: “My body is poisoned by alcohol: It’s harmful for me: breathing dust:

Anna begs for it to stop lasts "Every single day:".

Bubnov interrupts Satin: “I heard: a hundred times!"

Satin seems to sum it up: “All our words are boring! I heard each of them: probably a thousand times:"

- In a stream of fragmentary remarks and altercations, words are heard that have a symbolic sound.

Bubnov: “And the threads are rotten:” - twice, while doing furrier business.

He’s talking about Nastya’s situation: “You’re superfluous everywhere: and all the people on earth are superfluous:”

What do these seemingly random remarks reveal?

(Phrases said on a specific occasion reveal the imaginary connections of the people gathered in the shelter, the “superfluity” of the unfortunate people).

IV. Teacher's word.

Already the first readers of the play “At the Lower Depths” drew attention not only to the novelty of its content, but also to the novelty of its form. Chekhov responded about the play as follows: “It is new and undoubtedly good.”

What is unusual about the form of the play “At the Lower Depths”? In what ways does Gorky deviate from the rules for creating dramatic works known to us from the plays we have read earlier?

2.No traditional plot: it unfolds not so much in “external” events as in dialogues (disputes), polylogues- they determine the development of the conflict.

3.In the play no main or secondary characters- everyone is important.

Let's look at the list of characters - poster.

V. Working with the play poster.

Why are the heroes presented differently: some by their first name and patronymic, others by their nickname or last name?

Why differently are Kostylev and Kleshch presented? (The list shows a certain hierarchy of the “bottom”. There are also “masters of life” here, however, they are not so different from the inhabitants of the shelter).

People in society are valued differently. A representative of any class, gender and age can find himself at the “bottom” of life. What do they have in common? (They are all renegades. All "former".)

VI. Mini quiz.

Remember which of the characters in the play was

• an official in the treasury chamber?
• guard at the dacha?
• telegraph operator?
• a mechanic?
• a furrier?
• an artist?

VII. Conversation.

How did these people get here? What brought them to the shelter? What is the backstory of each character?

Satin hit rock bottom after serving time in prison for murder (Act 1).

The Baron went bankrupt. Served in the treasury chamber, squandered money; for embezzlement of government money he went to prison, then ended up in a shelter (Act 4).

Kleshch lost his job, although he was an “honest worker” and “worked from an early age” (Act 1).

The actor once had a sonorous surname - Sverchkov-Zavolzhsky, but was not in the leading roles (he says that he played a gravedigger in Hamlet), he lived in poverty; He began to drink, seeing no way out, - he became an alcoholic, “drank away his soul” (Act 2). Weak at heart. The tick resists - the result is the same.

Fate Ashes predetermined already at birth: “I have been a thief since childhood.” "Son of a thief." There is no other way (act 2).

Which hero talks more about his fall than others? (Baron. Each stage of his life is marked by a certain costume. These disguises symbolize the gradual decline in social status.)

What reasons bring people to the “bottom”? (People are brought to the “bottom” by both subjective (laziness, meanness, dishonesty, weak character) and objective, social reasons (the life of society is poisoned, distorted).

What are the night shelters talking about? (What every person thinks about.)

Honor and conscience Faith in one’s strength, in one’s talent

People of the “bottom” are not villains, not monsters, not scoundrels. They are the same people as us, they just live in different conditions. This amazed the first viewers of the play and shocks new readers.

The characters talk and argue a lot. Their conversations are the subject of depiction in the play. The clash of ideas, life views, and the struggle of worldviews determine the main conflict of the play. This is typical for the genre philosophical dramas .

VIII. Homework.

Answer the following questions in writing:

1. One of the characters in the play, Satin, in a remark that concludes the second act, likens the night shelters to the dead: “Dead men don’t hear! Dead men don’t feel: Shout: roar: dead men don’t hear!..”
2. Can we say that the first act is conversations in "the kingdom of the dead" (G.D. Gachev)?
3. Or is the researcher right who believed that “Luke, having gone down into the basement, came not to the desert, but to people" (I.K. Kuzmichev), and before the arrival of Luke retained, to one degree or another, living human traits?

Topic: Features of genre and conflict in M. Gorky’s play “At the Depths”

Goals:

Educational:

1) study the history of the creation of the play;

2) identify the genre nature of the play;

3) identify the features of the conflict.

Educational:

• improve the skills of system-integrated analysis dramatic work;
• develop skills in independently searching for information on this topic;

Educational

• to cultivate a culture of mental work among students based on such mental operations as analysis, synthesis, grouping, and comparison.

Lesson type: lesson-lecture with elements of conversation on the plot and genre uniqueness of the play.

Equipment:

• computer (presentation in Microsoft Power Point 2007-2010);
• video projector, screen.

Lesson progress

Organizational moment.

1. Opening remarks.

Today you got acquainted with M. Gorky’s novel “Mother,” which became, perhaps, the main work of Gorky the novelist. Now we will get acquainted with the dramatic works of M. Gorky. Your homework was to read the play “At the Bottom.” Let's turn to her.

1. A word about the creation of the play.

In 1900, when artists from the Art Theater traveled to Crimea to show Chekhov his plays “The Seagull” and “Uncle Vanya,” they met Gorky. The head of the theater, Nemirovich-Danchenko, told them that the theater had the task of not only “captivating Chekhov with its art, but also infecting Gorky with the desire to write a play.”

The following year, Gorky donated his play “The Bourgeois” to the Art Theater. First performance of Gorky's play Art Theater took place on March 26, 1902, in St. Petersburg, where the theater went on a spring tour. Appeared on stage for the first time new hero: revolutionary worker, machinist Nile, a man aware of his strength, confident of victory. And although the censorship erased all the “dangerous” passages from the play, and also erased Neil’s words: “The master is the one who works!”, “rights are not given, rights are taken,” nevertheless, the play as a whole sounded like a call for freedom, struggle .

The government feared that the performance had turned into a revolutionary demonstration. During the dress rehearsal of the play, the theater was surrounded by police, and policemen in disguise were stationed in the theater; Mounted gendarmes were riding around in the square in front of the theater.

Almost simultaneously with the play "The Bourgeois" Gorky was working on a second play, "At the Depths." In August 1902, Gorky handed over the play to Nemirovich-Danchenko. Rehearsals began, and Gorky now often had to visit Moscow. The actors and the director worked with enthusiasm, went to the Khitrov market, to the shelters where tramps lived, and Gorky talked a lot about the lives of his heroes, helping to better understand their lives and habits.

O. L. Knipper-Chekhova recalled how at one of the rehearsals Gorky said:“I read “At the Lower Depths” in the rooming house, to the real Baron, the real Nastya. You understand! They cried in the rooming house, shouting: “We are worse!”... They kissed me, hugged me...”On December 18, 1902, the play premiered. They endlessly called actors, directors, and the author. The performance turned into a stormy celebration of A. M. Gorky; he went on stage excited, confused - he did not expect such success. Large, slightly stooped, he frowned and, out of embarrassment, forgot to throw away the cigarette he was holding in his teeth, forgot that he had to bow.

1. Conversation on the content of the play (orally):

Questions for the class:

1. What is it built on? storyline works?
2. Who are the inhabitants of the shelter? Name them.
3. Who is Klesh? What is known about him?
4. Who is Luka? Satin?

Luke

An elderly man (60 years old), a traveling preacher who consoles everyone, promises everyone deliverance from suffering, says to everyone: “You hope!”, “You believe!” Luka is an extraordinary personality, he has a great life experience and a keen interest in people. He doesn’t believe in anything, but he feels sorry for suffering people, so he tells them various comforting words. His whole philosophy is contained in the saying: “What you believe is what you believe.”

Satin

Unemployed man (40 years old). He loves incomprehensible, rare words, because... He used to serve in the telegraph office, read a lot and was an educated person. The hero expresses author's position, he is far from the philosophy of Christian patience, for him there is one thing proudly sound word- a person who “pays for everything himself: for faith, for unbelief, for love, for intelligence - a person pays for everything himself, and therefore he is free.” He understands social injustice more clearly than others. He claims that a person needs the truth, whatever it may be!

Kostylev and Vasilisa

The figure of the hostel owner Kostylev (54), one of the “masters of life”, who is ready to squeeze the last penny even from his unfortunate and disadvantaged guests, is disgusting. His wife Vasilisa (26 years old) is just as disgusting with her immorality, she “has no soul,” she is “greedy for money.”

Vaska Ash

A young man (28 years old) is a hereditary thief, thirsty right life, he wants to become an honest and decent person, because... for a living, Ash earns his living through dishonest labor, he wants to fix all this. Vaska dreams of a free life in Siberia. And he thinks that by marrying Natasha, he will get what he wants. But in the end, having killed Kostylev, he goes to prison.

Natasha

Natasha – 20 years old, Vasilisa’s sister. Quiet, kind girl. She is full of passionate dreams about the future. Natasha wants to leave the shelter, to get out of this “bottom of life,” but she cannot. They want to marry Natasha to Ash, but the girl understands that nothing good will come of this. After all, Vaska treated her sister badly, which means he can do the same to her. She never got married, because... After beating his sister, he ends up in the hospital, and from there he leaves in an unknown direction.

Baron and Nastya

Nastya is a young girl (20 years old) who passionately desires big, true love. True, her dreams cause malicious ridicule among those around her. Even her partner Baron makes fun of her. Nastya suffers from her hopelessness and still wants to go to the ends of the world.

Baron (33) is the only person who has no illusions about liberation. But he has a thread: “It’s all in the past!” If there is nothing ahead, then at least there is something behind. The Baron often recalled his origins (old surname, houses in Moscow and St. Petersburg, carriages with coats of arms, etc.). But Nastya mocks him and says that none of this happened. “I understand what a person is like when they don’t believe him?”

Klesh and Anna

Andrey Mitrich (40 years old) is a mechanic, dreams of honest work. He hopes more than anyone to escape from this hole (“I’ll get out... I’ll rip off my skin, but I’ll get out!”), that this is not the end, but a temporary fall. Klesh thinks that after his wife's death, his life will become easier. He awaits her death as liberation!

Anna (30 years old) – his wife, seriously ill, near death. She considers herself the most unhappy woman. She is crushed by life, full of suffering and useless to anyone.

Actor

Was in the past famous actor, but soon sank, drank himself to death and even forgot his name! He is often absorbed in memories of his past glory. His only dream is to find the city that Luke talked about, where there is a free hospital for alcoholics. After all, he still hopes to return to the stage. But having learned that there is no “righteous land” and that there is no hospital, the actor commits suicide, because... cannot bear the collapse of his last hope.

1. Have you noticed the similarities between Gorky’s “people of the bottom” and the “little man”? What is it? How are they different?

(There are similarities. Both the “little people” and the people of the “bottom” are social types “humiliated and insulted” by life. However, the situation of the heroes of Gorky’s play is much worse. The “little people” had hope (remember Gogol’s Bashmachkin or the hero-ideologists F .M. Dostoevsky), the “people of the bottom” have no such hope to fall further).

1. What is the similarity between “people of the bottom” and the heroes of “vagrant stories”, for example, the story “Chelkash”, with which you are familiar?

(The heroes of the play are also tramps. But there is no romance here anymore. Chelkash - romantic image, this is a strong, strong-willed character. For him, the main thing is the sea and freedom. There is no romanticism in the play. reality. The people of the doss house argue about the truth, but they themselves don’t know what it is.)

1. Who really argues with Luke: Satin or the author himself?

1. Is the play “At the Bottom” an innovative work?
2. How would you define genre? What dramatic genres do you know?

Comedy, drama, tragedy, vaudeville, melodrama. “At the Bottom” is a drama. In the tragedy d.b. heroes and ideologists. Their conflict with society must become ideological. Remember, for example, the conflict between Katerina Kabanova and “ dark kingdom(Ostrovsky’s “The Thunderstorm”) or Larisa Ogudalova’s conflict with the world of predatory merchants (“Dowry” by Ostrovsky). There is no such thing here. The actor shot himself - despair and lack of faith in his own strength. Luke leaves.)

1. What do you think is the salvation of people who have fallen “to the bottom” of life?

(Either go into the world of illusions, or fight for social injustice. Their salvation is social changes in Russia, this is what Gorky was leading the viewer to. 1917 will soon come. The proletariat will appear on the stage of history).

1. Lecture part:

In this new play The protest against capitalist society sounded even more sharply and boldly. Gorky showed in it a new, unfamiliar world - the world of tramps who have sunk to the very bottom of life.Gorky's play “At the Lower Depths” was written in 1902 for the troupe of the Moscow Art Public Theater. The name itself already has a huge meaning. People who have fallen to the bottom will never rise to the light, to a new life. The theme of the humiliated and insulted is not new in Russian literature. Here Gorky acts as a continuer of the traditions of Pushkin, Gogol, Nekrasov, Dostoevsky. However, the situation of Gorky’s “people of the bottom”, in contrast to the “little people,” is more depressing.

In the play, Gorky outlined the need for socio-historical changes that the revolution would bring.The play is based on an acute social conflict: the contradiction between a person’s actual position in society and his high purpose; the contradiction between the masses and the autocratic orders of landowner Russia, which reduce people to the tragic fate of vagabonds.

M. Gorky's play is innovative literary work. At its center are not only human destinies, but a clash of ideas, a dispute about man, about the meaning of life.

Social conflict is expressed at several levels:

1. Conflict between the owners of the shelter, the Kostylev spouses, and the inhabitants of this shelter
2. Each of their heroes experienced their own social situation in the past. conflict. But everyone's backstory remains in the past. Gorky leaves her behind the scenes. Their life dramas do not become the basis of a dramatic conflict.
3. The love line in the play is connected with the social one. Kostylev is looking for Vasilisa, who cheats on him with Vaska Ash. The beginning of a love conflict is Natasha’s arrival at the shelter. Vaska Pepel's love for Natasha revives him to life. Gorky shows that the anti-human conditions of the “bottom” cripple a person. Vasilisa takes revenge on her lover. Social inequality wins.

In terms of genre, the play is a drama.There are no ideological conflicts with society. The philosophical reflections of the inhabitants of the shelter do not lead anywhere, they do not become a rebellion against social life. inequalities. The actor shot himself - despair and lack of faith in his own strength. Luka leaves.

The heroes of the play “At the Bottom” turned out to be generalized, collective images, albeit typical. Under the arches of the Kostylevo flophouse, people found themselves of various nature And social status. They are all social. types. All heroes have nicknames instead of names.

M. Gorky offers readers two possible answers to the question of saving the night shelters:

1) go into the world of illusions and deceive yourself (but lies can only worsen the situation of rejected people.

2) fight social injustice (but there are no capable fighters “at the bottom”. The most they are capable of is cutting out the truth – the truth about a person!)

Two main problems in the play:

philosophical issues are reflected in the heroes’ disputes about man, goodness and truth, which raise the problem of humanism:

• human problem;
• the problem of truth

Conclusion.

The play “At the Bottom” is imbued with an ardent and passionate appeal to love a person, to make this name truly sound proud. The play had a huge political resonance, calling for the reconstruction of society, which was throwing people “to the bottom.”

Homework:

1. write out quotation characteristics heroes

] Centrally in early Gorky is a proud and strong personality who embodies the idea of ​​freedom . Therefore, Danko, who sacrifices himself for the sake of people, is on a par with the drunkard and thief Chelkash, who does not perform any feats for anyone. “Strength is virtue,” Nietzsche said, and for Gorky, the beauty of a person lies in strength and feat, even aimless ones: strong man has the right to be “beyond good and evil”, to be outside of ethical principles, like Chelkash, and a feat, from this point of view, is resistance to the general flow of life.
After the series romantic works In the 90s, full of rebellious ideas, Gorky created a play that became, perhaps, the most important link in the entire philosophical and artistic system of the writer - the drama “At the Lower Depths” (1902). Let's see what heroes inhabit the “bottom” and how they live.

II. Conversation on the content of the play “At the Depths”
- How is the scene of action depicted in the play?
(The location of the action is described in the author's remarks. In the first act it is “a cave-like basement”, “heavy, stone vaults, smoke-stained, with crumbling plaster”. It is important that the writer gives instructions on how the scene is lit: "from the viewer and from top to bottom" the light reaches the shelters from the basement window, as if searching for people among the basement inhabitants. Thin partitions screen off Ash's room.
“Everywhere along the walls there are bunks”. Apart from Kvashnya, Baron and Nastya, who live in the kitchen, no one has their own corner. Everything is on display in front of each other, a secluded place is only on the stove and behind the chintz canopy separating the dying Anna’s bed from the others (by this she is already, as it were, separated from life). There is dirt everywhere: "dirty chintz canopy", unpainted and dirty tables, benches, stools, tattered cardboards, pieces of oilcloth, rags.
Third act takes place in an early spring evening in a vacant lot, “a yard littered with various rubbish and overgrown with weeds”. Let's pay attention to the coloring of this place: the dark wall of a barn or stable “gray, covered with remains of plaster” the wall of the bunkhouse, the red wall of the brick firewall blocking the sky, the reddish light of the setting sun, the black branches of the elderberry without buds.
In the setting of the fourth act, significant changes occur: the partitions of Ash’s former room are broken, the Tick’s anvil has disappeared. The action takes place at night, and light from the outside world no longer penetrates into the basement - the scene is illuminated by a lamp standing in the middle of the table. However, the last “act” of the drama takes place in a vacant lot - there the Actor hanged himself.)

- What kind of people are the inhabitants of the shelter?
(People who have sunk to the bottom of life end up in a shelter. This is the last refuge for tramps, marginalized people, “ former people" All social strata of society are here: the bankrupt nobleman Baron, the hostel owner Kostylev, the policeman Medvedev, the locksmith Kleshch, the cap maker Bubnov, the merchant Kvashnya, the sharpie Satin, the prostitute Nastya, the thief Ash. Everyone is equalized by the status of the dregs of society. Here live very young (shoemaker Alyoshka is 20 years old) and not yet old people (the oldest, Bubnov, is 45 years old). However, their lives are almost over. Dying Anna appears to us as an old woman, but she turns out to be 30 years old.
Many night shelters do not even have names, only nicknames remain that expressively describe their bearers. The appearance of the dumpling seller Kvashnya, the character of Kleshch, and the Baron’s ambition are clear. The actor once bore the sonorous surname Sverchkov-Zadunaisky, but now there are almost no memories left - “I forgot everything.”)

- What is the subject of the image in the play?
(The subject of the drama “At the Bottom” is the consciousness of people thrown as a result of deep social processes to the “bottom” of life).

- What is the conflict of the drama?
(Social conflict has several levels in the play. The social poles are clearly indicated: on one, the owner of the shelter, Kostylev, and the policeman Medvedev, who supports his power, on the other, the essentially powerless roomies. Thus it is obvious conflict between government and disenfranchised people. This conflict hardly develops, because Kostylev and Medvedev are not so far from the inhabitants of the shelter.
Each of the night shelters experienced in the past your social conflict , as a result of which he found himself in a humiliating position.)
Reference:
A sharp conflict situation, playing out in front of the audience, is the most important feature of drama as a type of literature.

- What brought its inhabitants - Satin, Baron, Kleshch, Bubnov, Actor, Nastya, Ash - to the shelter? What is the backstory of these characters?
(Satin fell “to the bottom” after serving time in prison for murder: “I killed a scoundrel in passion and irritation... because sister»; Baron went broke; Mite lost my job: “I’m a working person... I’ve been working since I was little”; Bubnov he left home out of harm’s way so as not to kill his wife and her lover, although he himself admits that he is “lazy” and also a heavy drunkard, “he would drink away the workshop”; Actor he drank himself to death, “drank away his soul... died”; fate Ashes was predetermined already at his birth: “I have been a thief since I was a child... everyone always told me: Vaska is a thief, Vaska’s son is a thief!”
The Baron talks in more detail about the stages of his fall (act four): “It seems to me that all my life I’ve only been changing clothes... but why? I don't understand! I studied and wore the uniform of a noble institute... and what did I study? I don’t remember... I got married, put on a tailcoat, then a robe... and took a nasty wife and - why? I don’t understand... I lived through everything that happened - I wore some kind of gray jacket and red trousers... and how did I go broke? I didn’t notice... I served in the government chamber... uniform, cap with a cockade... squandered government money - they put a prisoner’s robe on me... then I put on this... And everything... like in a dream. .. A? Is this... funny? Each stage of the thirty-three-year-old Baron’s life seems to be marked by a certain costume. These changes symbolize the gradual decline social status, and nothing stands behind these “changes of clothes”, life passed “like in a dream.”)

- How is social conflict interconnected with dramaturgical conflict?
(The social conflict is taken off stage, pushed into the past, it does not become the basis dramatic conflict. We are only observing the result of off-stage conflicts.)

- What kind of conflicts, other than social ones, are highlighted in the play?
(The play has traditional love conflict . It is determined by the relationships between Vaska Pepla, Vasilisa, the wife of the owner of the shelter, Kostylev and Natasha, Vasilisa’s sister.
Exposition of this conflict- a conversation between the shelters, from which it is clear that Kostylev is looking for his wife Vasilisa in the shelter, who is cheating on him with Vaska Ash.
The origin of this conflict- the appearance of Natasha in the shelter, for whose sake Ashes leaves Vasilisa.
During development of love conflict it becomes clear that the relationship with Natasha revives Ash, he wants to leave with her and start new life.
Climax of the conflict taken off stage: at the end of the third act, we learn from Kvashnya’s words that “they boiled the girl’s legs with boiling water” - Vasilisa knocked over the samovar and scalded Natasha’s legs.
The murder of Kostylev by Vaska Ash turns out to be tragic outcome of a love conflict. Natasha stops believing Ash: “She’s at the same time! Damn you! Both of you...")

- What is unique about a love conflict?
(Love conflict becomes edge social conflict . It shows that anti-human conditions cripple a person, and even love does not save a person, but leads to tragedy: to death, injury, murder, hard labor. As a result, Vasilisa alone achieves all her goals: she takes revenge ex-lover Ash and her sister-rival Natasha, gets rid of her unloved and disgusted husband and becomes the sole mistress of the shelter. There is nothing human left in Vasilisa, and this shows the monstrosity of the social conditions that disfigured both the inhabitants of the shelter and its owners. The night shelters are not directly involved in this conflict, they are only third-party spectators.)

III. Final word teachers
The conflict in which all the heroes participate is of a different kind. Gorky depicts the consciousness of people at the “bottom”. The plot unfolds not so much in external action - in everyday life, but in the dialogues of the characters. Exactly the conversations of the night shelters determine development of dramatic conflict . The action is transferred to a non-event series. This is typical for the genre philosophical drama .
So, the genre of the play can be defined as a socio-philosophical drama .

Additional material for teachers
To record at the beginning of the lesson, you can offer the following: plan for analyzing a dramatic work:
1. Time of creation and publication of the play.
2. The place occupied in the playwright’s work.
3. The theme of the play and the reflection of certain life material in it.
4. Characters and their grouping.
5. The conflict of a dramatic work, its originality, the degree of novelty and acuteness, its deepening.
6. Development of dramatic action and its phases. Exposition, plot, twists and turns, climax, denouement.
7. Composition of the play. The role and significance of each act.
8. Dramatic characters and their connection with action.
9. Speech characteristics characters. The connection between character and words.
10. The role of dialogues and monologues in the play. Word and action.
11. Identification of the author's position. The role of stage directions in drama.
12. Genre and species originality plays. Correspondence of the genre to the author's predilections and preferences.
13. Comedy means (if it's a comedy).
14. Tragic flavor (in the case of analyzing a tragedy).
15. Correlation of the play with the aesthetic positions of the author and his views on the theater. The purpose of the play for a specific stage.
16. Theatrical interpretation of drama at the time of its creation and subsequently. The best acting ensembles, outstanding directorial decisions, memorable embodiments of individual roles.
17. The play and its dramatic traditions.

Homework
Identify Luke's role in the play. Write down his statements about people, about life, about truth, about faith.

Lesson 2. “What you believe in is what it is.” The role of Luka in the drama “At the Bottom”
Objective of the lesson: create a problematic situation and encourage students to express their own point of view on the image of Luke and his life position.
Methodical techniques: discussion, analytical conversation.

Lesson progress
I. Analytical conversation
Let us turn to the extra-event series of the drama and see how the conflict develops here.

- How do the inhabitants of the shelter perceive their situation before Luka appears?
(IN exposition we see people, in essence, resigned to their humiliating situation. The night shelters sluggishly, habitually quarrel, and the Actor says to Satin: “One day they will completely kill you... to death...” “And you are a fool,” Satin snaps. "Why?" - the Actor is surprised. “Because you can’t kill twice.”
These words of Satin show his attitude towards the existence that they all lead in the shelter. This is not life, they are all already dead. Everything seems clear.
But the Actor’s response is interesting: “I don’t understand... Why not?” Perhaps it is the Actor, who has died more than once on stage, who understands the horror of the situation more deeply than others. After all, it is he who commits suicide at the end of the play.)

- What is the meaning of using past tense in the self-characteristics of the heroes?
(People feel "former":
“Satin. I was educated person"(the paradox is that the past tense is impossible in this case).
“Bubnov. I'm a furrier was ».
Bubnov pronounces a philosophical maxim: “It turns out - don’t paint yourself how you look on the outside, everything will be erased... everything will be erased, yes!”)

- Which of the characters contrasts itself with the others?
(Only one The tick hasn't calmed down yet with your fate. He separates himself from the rest of the night shelters: “What kind of people are they? Ragged, golden company... people! I’m a working man... I’m ashamed to look at them... I’ve been working since I was little... Do you think I won’t break out of here? I’ll get out... I’ll rip off the skin, and I’ll get out... Just wait a minute... my wife will die...”
Kleshch's dream of a different life is associated with the liberation that his wife's death will bring him. He does not feel the enormity of his statement. And the dream will turn out to be imaginary.)

- Which scene is the beginning of the conflict?
(The beginning of the conflict is the appearance of Luke. He immediately announces his views on life: “I don’t care! I respect swindlers too, in my opinion, not a single flea is bad: all are black, all jump... that’s how it is.” And one more thing: “For an old man, where it’s warm, there’s a homeland...”
Luka turns out to be in the center of attention of guests: “What an interesting little old man you brought, Natasha...” - and the entire development of the plot is concentrated on him.)

- How does Luka behave with each of the inhabitants of the shelter?
(Luka quickly finds an approach to the shelters: “I’ll look at you, brothers - your life - oh-oh!..”
He feels sorry for Alyoshka: “Eh, guy, you’re confused...”
He does not respond to rudeness, skillfully avoids questions that are unpleasant for him, and is ready to sweep the floor instead of the bunkhouses.
Luka becomes necessary for Anna, he takes pity on her: “Is it possible to abandon a person like that?”
Luka skillfully flatters Medvedev, calling him “under,” and he immediately falls for this bait.)

- What do we know about Luke?
(Luka says practically nothing about himself, we only learn: “They crushed a lot, that’s why he’s soft...”)

- How does Luka affect night shelters?
(In each of the shelters, Luke sees a person, reveals their bright sides, the essence of personality , and it produces life revolution heroes.
It turns out that the prostitute Nastya dreams of beautiful and bright love;
the drunken Actor receives hope for a cure for alcoholism - Luke tells him: “A man can do anything, if only he wants to...”;
The thief Vaska Pepel plans to leave for Siberia and start a new life there with Natasha, becoming a strong master.
Luke gives Anna consolation: “Nothing, dear! You - hope... That means you will die, and you will be at peace... you won’t need anything else, and there’s nothing to be afraid of! Silence, peace - lie down!”
Luke reveals the good in every person and instills faith in the best.)

- Did Luka lie to the night shelters?
(There may be different opinions on this matter.
Luka selflessly tries to help people, to instill in them faith in themselves, to awaken best sides nature.
He sincerely wishes well shows real ways to achieve new things, better life . After all, there really are hospitals for alcoholics, Siberia really is the “golden side”, and not just a place of exile and hard labor.
As for the afterlife with which he beckons Anna, the question is more complicated; it is a matter of faith and religious belief.
What did he lie about? When Luka convinces Nastya that he believes in her feelings, in her love: “If you believe, you had true love... that means it was her! Was!" - he only helps her find the strength for life, for real, not fictitious love.)

- How do the inhabitants of the shelter react to Luke’s words?
(The lodgers are at first incredulous of Luka’s words: “Why are you lying all the time?” Luka doesn’t deny this, he answers the question with a question: “And... what do you really desperately need... think about it! She really can , butt for you..."
Even to a direct question about God, Luke answers evasively: “If you believe, he is; If you don’t believe it, no... What you believe in is what it is...")

- What groups can the characters of the play be divided into?
(The characters in the play can be divided into "believers" and "non-believers" .
Anna believes in God, Tatar believes in Allah, Nastya believes in “fatal” love, Baron believes in his past, perhaps invented. Kleshch no longer believes in anything, and Bubnov never believed in anything.)

- In what sacred meaning name "Luke"?
(Name "Luke" double meaning: this name reminds Evangelist Luke, means "light", and at the same time associated with the word "sly"(euphemism for "crap").)

- What is the author’s position in relation to Luke?
(The author's position is expressed in the development of the plot.
After Luke left everything is not happening at all as Luke convinced and as the heroes expected .
Vaska Pepel does end up in Siberia, but only to hard labor, for the murder of Kostylev, and not as a free settler.
The actor, who has lost faith in himself and in his strength, exactly repeats the fate of the hero of Luke’s parable about the righteous land. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, hanged himself, believes that a person should not be deprived of dreams, hopes, even imaginary ones. Gorky, showing the fate of the Actor, assures the reader and viewer that it is false hope that can lead a person to suicide .)
Gorky himself wrote about his plan: “ The main question I wanted to pose is what is better, truth or compassion. What is more necessary? Is it necessary to take compassion to the point of using lies, like Luke? This is not a subjective question, but a general philosophical one.”

- Gorky contrasts not truth and lies, but truth and compassion. How justified is this opposition?
(Discussion.)

- What is the significance of Luke’s influence on the shelters?
(All the characters agree that Luke instilled in them false hope . But he didn’t promise to raise them from the bottom of life, he just showed them own capabilities, showed that there is a way out, and now everything depends on them.)

- How strong is the self-confidence awakened by Luka?
(This faith did not have time to take hold in the minds of the night shelters; it turned out to be fragile and lifeless; with the disappearance of Luka, hope fades away)

- What is the reason for the rapid decline of faith?
(Maybe it's in the weaknesses of the heroes themselves , in their inability and unwillingness to do at least something to implement new plans. Dissatisfaction with reality and a sharply negative attitude towards it are combined with a complete unwillingness to undertake anything to change this reality.)

- How does Luke explain the failures of the life of the night shelters?
(Luke explains failures in the lives of homeless shelters due to external circumstances , does not at all blame the heroes themselves for their failed lives. That’s why she was so drawn to him and became so disappointed, having lost external support with Luka’s departure.)

II. Teacher's final words
Gorky does not accept passive consciousness, whose ideologist he considers Luka.
According to the writer, it can only reconcile a person with outside world, but will not encourage him to change this world.
Although Gorky does not accept Luka’s position, this image seems to be out of the author’s control.
According to the memoirs of I.M. Moskvin, in the 1902 production, Luka appeared as a noble comforter, almost a savior of many desperate inhabitants of the shelter. Some critics saw in Luke “Danko, to whom only real features were given,” “an exponent of the highest truth,” and found elements of Luke’s exaltation in Beranger’s poems, which the Actor shouts:
Gentlemen! If the truth is holy
The world doesn't know how to find a way -
Honor the madman who inspires
A golden dream for humanity!
K. S. Stanislavsky, one of the directors of the play, planned path "decrease" hero.“Luka is cunning”, “looking slyly”, “slyly smiling”, “ingratiatingly, softly”, “it’s clear that he’s lying.”
Luke is a living image precisely because he is contradictory and ambiguous.

Homework
Find out how the issue of truth is resolved in the play. Find sayings different heroes about the truth.

Lesson 3. The question of truth in Gorky’s drama “At the Depths”
Objective of the lesson: identify the positions of the characters in the play and the author’s position in relation to the issue of truth.
Methodical techniques: analytical conversation, discussion.

Lesson progress
I. The teacher's word
The philosophical question that Gorky himself posed: What is better - truth or compassion? The question of truth is multifaceted. Each person understands the truth in his own way, still having in mind some final, the highest truth. Let's see how truth and lies relate in the drama “At the Bottom.”

II. Working with a dictionary
- What do the characters in the play mean by “truth”?
(Discussion. This word has many meanings. We advise you to look into explanatory dictionary and identify the meaning of the word “truth”.

Teacher's comment:
You can select two levels of "truth".
One is " private truth which the hero defends, assures everyone, and above all himself, of the existence of extraordinary, bright love. The Baron is in the existence of his prosperous past. Kleshch truthfully calls his situation, which turned out to be hopeless even after the death of his wife: “There is no work... no strength! That's the truth! Shelter... there is no shelter! You have to breathe... here it is, the truth!” For Vasilisa, the “truth” is that she is “tired” of Vaska Ash, that she mocks her sister: “I’m not bragging - I’m telling the truth.” Such a “private” truth is at the level of fact: it was - it wasn’t.
Another level of "truth" "worldview"- in Luke's remarks. Luke's "truth" and his "lies" are expressed by the formula: “What you believe in is what it is.”

III. Conversation
- Is the truth necessary at all?
(Discussion.)

- Which character's position contrasts with Luke's position?
(Luke’s position, compromise, consoling, Bubnov's position is opposed .
This is the darkest figure in the play. Bubnov enters into the argument implicitly, as if talking to myself , supporting the polyphony (polylogue) of the play.
Act 1, scene at the bedside of dying Anna:
Natasha (to the tick). If only you could treat her more kindly now... it won't be long...
Mite. I know...
Natasha. You know... It's not enough to know, you - understand. After all, dying is scary...
Ash. But I'm not afraid...
Natasha. How!.. Bravery...
Bubnov (whistles). And the threads are rotten...
This phrase is repeated several times throughout the play, as if

Name the genre to which M. Gorky’s play “At the Lower Depths” belongs.

Read the text fragment below and complete tasks B1-B7; C1-C2.

Luke (leaving the kitchen). Well, did you beat the Tatar? Are you going to drink vodka? Baron. Come with us!

Satin. Let's see how drunk you are!

Luke. No better than sober...

Actor. Let's go, old man... I'll recite the verses for you...

Luke. What is this?

Actor. Poems, do you understand?

Luke. Poems! What do I need them for, poems?..

Actor. It's funny... And sometimes it's sad...

Satin. Well, coupletist, are you coming? (Leaves with the Baron.)

Actor. I'm coming... I'll catch up! For example, an old man, from one poem... I forgot the beginning... I forgot! (Rubs his forehead.)

Bubnov. Ready! Your queen is missing... go!

Medvedev. I went the wrong way... shoot her!

Actor. Previously, when my body was not poisoned by alcohol, I, old man, had good memory... A-now... it's over, brother! It's over for me! I always read this poem with great success... thunderous applause! You... don’t know what applause is... it’s, brother, like... vodka!.. It used to be that I’d go out and stand like this... (Strikes a pose.) I'll get up... and... (Silent.) I don’t remember anything... not a word... I don’t remember! Favorite poem...is that bad, old man?

Luke. What good is it if you forgot what you love? The beloved contains all the soul...

Actor. I drank away my soul, old man... I, brother, died... And why did I die? I had no faith... I'm finished...

Luke. Well, what? You... get treatment! Nowadays there is a cure for drunkenness, hear! They treat them for free, brother... this is the kind of hospital built for drunkards... so that, therefore, they can be treated for nothing... They recognized, you see, that a drunkard is also a person... and they are even glad when he wants to be treated! Well, here you go! Go...

Actor (thoughtfully). Where? Where is it?

Luke. And this... in the same city... what's it called? It has a similar name... Yes, I’ll tell you the city!.. Just this: just get ready for now! Refrain... pull yourself together and be patient... And then you will be cured... and start living again... okay, brother, again! Well, decide... in two steps...

Actor (smiling). Again... at first... This is good. Nah... Again? (Laughs.) Well, yes! I can?! I can do it, right?

Luke. Why? Man can do anything... if only he wants...

Actor (suddenly, as if waking up). You are a weirdo! Goodbye for now! (Whistles.) Old man... goodbye... (Leaves.)

M. Gorky “At the Bottom”

Depicting the “bottom” of life, M. Gorky followed the traditions of the literary movement, which reached its heyday in the second half of the 19th century. Indicate its name.

Explanation.

This literary direction called realism. Let's give a definition.

Realism is the fundamental method of art and literature. Its basis is the principle of life truth, which guides the artist in his work, striving to give the most complete and true reflection of life and maintaining the greatest life verisimilitude in the depiction of events, people, objects of the material world and nature as they are in reality.

Answer: realism.

Answer: realism

Igor Usatii 30.01.2017 20:48

Your Answer: socialist realism. Correct answer: realism

Doesn't this count as the correct answer?

Tatiana Statsenko

No, we are talking about socialist realism, which reached its peak in second half of the 19th century, it is forbidden. The question refers us precisely to this period. If we were talking about the 20th century, then such a literary movement could be called socialist realism, because this concept in literary criticism was generally accepted for a long period of time. Now many literary scholars agree that it is inappropriate to single out socialist realism, since it does not differ significantly from critical realism. In any case, specifically to answer this question The concept “socialist realism” cannot be used.

The above scene, like other scenes in the play, is based on the characters’ communication with each other. What is this exchange of remarks called?

Explanation.

This exchange of remarks is called dialogue. Let's give a definition.

Dialogue is a conversation between two or more persons in a work of fiction.

Answer: dialogue|polylogue.

Answer: dialogue|polylogue

Your answer: polylogue. Correct answer: dialogue

Tatiana Statsenko

corrected

Explanation.

This term is called a remark. Let's give a definition.

Directions are explanations with which the playwright precedes or accompanies the course of action in the play. Stage directions can explain the age, appearance, clothing of the characters, as well as their state of mind, behavior, movements, gestures, intonations. In the stage directions that precede an act, scene, or episode, a designation and sometimes a description of the scene of action or setting is given.

Answer: Remark|remarks

What are the names of the short sayings found in the fragment (“The whole soul is in the beloved...”, “A person can do anything... if only he wants to...”), which carry life generalizations and are characterized by brightness and accuracy in the expression of thoughts?

Write your answer in the singular.

Explanation.

Such short sayings are called aphorisms or catchphrases.

Let's give a definition.

An aphorism is an original complete thought, expressed or written down in a laconic, memorable text form and subsequently repeatedly reproduced by other people. In an aphorism, the utmost concentration of the immediate message and the context in which the thought is perceived by the surrounding listeners or reader is achieved.

Answer: aphorism|aphorisms|catchphrase

The Actor’s remark contains the same words: “ Again... first... This is good. Nah... Again? (Laughs.) Well... yes! I Can?!. After all Can, A?" What is the name of this technique that helps enhance the meaning of a statement?

Explanation.

This technique is called repetition. Let's give a definition.

Repetition is the repetition of one or more words in one sentence or in adjacent sentences, enhancing the emotional expressiveness of the text. Repetition can emphasize the key meaning of a particular word to characterize a person’s state or his attitude to something, emotionally highlighting or strengthening it. Sometimes repetition emphasizes a word various shades sense.

Answer: repeat.

Answer: repetition|lexical repetition

Daria Mosyagina 09.01.2017 16:22

Why is this not anaphora?

Tatiana Statsenko

Anaphora is a stylistic figure of speech, which consists in the fact that at the beginning of each parallel series the same elements are repeated. In our passage there are no parallel rows, there is text, and to enhance the shades of meaning, repetition of words is used.

Yana Zubareva 15.02.2017 13:13

Why is "lexical repetition" incorrect?

Tatiana Statsenko

This option is possible, your version has been added to the answer.

Explaining to Luka what applause is, the Actor resorts to an unexpected analogy (“this, brother, is like... vodka!..”). Name the technique that the hero uses in his speech.

Explanation.

This technique is called comparison. Let's give a definition.

And they believe him. He tells the dying Anna that in the next world, in heaven, there will be no torment. Vaska Pepl is inspired by the idea of ​​​​a trip to Siberia, where he can start a new, honest life. The actor promises to name the city where he receives free treatment for alcoholism in a luxurious hospital. Luke's sudden disappearance indicates his defeat. His deception did not elevate people, but only humiliated them. They stopped believing in the powers of man, perceiving only that a person can be pitied and consoled with illusions.

The essence of Luke's philosophy is that faith can replace real truth, since faith helps a person escape from terrible reality into the world of beautiful illusions.

In what works of Russian writers does the theme of spiritual impoverishment of the individual sound, and in what ways can these works be compared with M. Gorky’s play “At the Depths”?

Explanation.

The theme of spiritual impoverishment of the individual is raised in the works of F. Dostoevsky, A. P. Chekhov, A. N. Ostrovsky. The works of Russian classics are imbued with true humanism: the belief that a person can rise not only from the “bottom of life”, but also from the “bottom” of his own soul. In Gorky's play, in a rooming house, where, it would seem, everything is lost for its occupant, there is a monologue about a Man who can do anything. In Ostrovsky’s plays, strong characters emerge from the darkness of the “dark kingdom” (“The Thunderstorm”, “The Dowry”). A protest against spiritual impoverishment and philistinism is heard in Chekhov’s stories and plays (“Gooseberry”, “Man in a Case”).

Explanation.

This play belongs to the drama genre. Let's give a definition.

Drama is a literary (dramatic), stage and cinematic genre. It became especially widespread in the literature of the 18th-21st centuries, gradually displacing another genre of drama - tragedy, contrasting it with predominantly everyday plots and a style closer to everyday reality.

Answer: drama

Genre features. The problem of the genre of M. Gorky's play “At the Lower Depths” has been little studied. Critics of the early 20th century associated Gorky's play with genre variety philosophical drama. “Gorky does not have a single hero who does not philosophize,” wrote K. Chukovsky. “Everyone appears on its pages and begins to express their philosophy.” Everyone speaks in aphorisms; no one lives independently, but only for aphorisms. They live and move not for the sake of movement, not for life, but to philosophize.”

One of the first books about Gorky’s play “At the Lower Depths” (A.A. Smirnov-Treplev, 1904) already defines the genre of the play as “philosophical drama” “with its deep symbolic content”, capable of “overshadowing the everyday side: so The play is densely saturated with ideas presented in living images.”

I. Annensky believed that “At the Lower Depths” is a real drama, only not quite ordinary, close in genre to tragedy.

Later Gorky's work called "new drama". In literary criticism recent years the genre of the play “At the Bottom” is defined as new type socio-philosophical drama, in which the main burden falls on the monologues and dialogues of the characters and on the dramatic conflict.

Genre features of “At the Bottom”

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